Читать книгу A Wanderer in Florence - E. V. Lucas - Страница 7

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The Campanile and the Baptistery

A short way with Veronese critics—Giotto's missing spire—Donatello's holy men—Giotto as encyclopaedist—The seven and twenty reliefs—Ruskin in American—At the top of the tower—A sea of red roofs—The restful Baptistery—Historic stones—An ex-Pope's tomb—Andrea Pisano's doors—Ghiberti's first doors—Ghiberti's second doors—Michelangelo's praise—A gentleman artist.

It was in 1332, as I have said, that Giotto was made capo-maestro, and on July 18th, 1334, the first stone of his campanile was laid, the understanding being that the structure was to exceed "in magnificence, height, and excellence of workmanship" anything in the world. As some further indication of the glorious feeling of patriotism then animating the Florentines, it may be remarked that when a Veronese who happened to be in Florence ventured to suggest that the city was aiming rather too high, he was at once thrown into gaol, and, on being set free when his time was done, was shown the treasury as an object lesson. Of the wealth and purposefulness of Florence at that time, in spite of the disastrous bellicose period she had been passing through, Villani the historian, who wrote history as it was being made, gives an excellent account, which Macaulay summarizes in his vivid way. Thus: "The revenue of the Republic amounted to three hundred thousand florins; a sum which, allowing for the depreciation of the precious metals, was at least equivalent to six hundred thousand pounds sterling; a larger sum than England and Ireland, two centuries ago, yielded to Elizabeth. The manufacture of wool alone employed two hundred factories and thirty thousand workmen. The cloth annually produced sold, at an average, for twelve hundred thousand florins; a sum fully equal in exchangeable value to two millions and a half of our money. Four hundred thousand florins were annually coined. Eighty banks conducted the commercial operations, not of Florence only but of all Europe. The transactions of these establishments were sometimes of a magnitude which may surprise even the contemporaries of the Barings and the Rothschilds. Two houses advanced to Edward III of England upwards of three hundred thousand marks, at a time when the mark contained more silver than fifty shillings of the present day, and when the value of silver was more than quadruple of what it now is. The city and its environs contained a hundred and seventy thousand children inhabitants. In the various schools about ten thousand children were taught to read; twelve hundred studied arithmetic; six hundred received a learned education."

Giotto died in 1386, and after his death, as I have said, Andrea Pisano came in for a while; to be followed by Talenti, who is said to have made considerable alterations in Giotto's design and to be responsible for the happy idea of increasing the height of the windows with the height of the tower and thus adding to the illusion of springing lightness. The topmost ones, so bold in size and so lovely with their spiral columns, almost seem to lift it.

The campanile to-day is 276 feet in height, and Giotto proposed to add to that a spire of 105 feet. The Florentines completed the façade of the cathedral in 1887 and are now spending enormous sums on the Medici chapel at S. Lorenzo; why should they not one day carry out their greatest artist's intention?

The campanile as a structure had been finished in 1387, but not for many years did it receive its statues, of which something must be said, although it is impossible to get more than a vague idea of them, so high are they. A captive balloon should be arranged for the use of visitors. Those by Donatello, on the Baptistery side, are the most remarkable. The first of these—that nearest to the cathedral and the most striking as seen from the distant earth—is called John the Baptist, always a favourite subject with this sculptor, who, since he more than any at that thoughtful time endeavoured to discover and disclose the secret of character, is curiously unfortunate in the accident that has fastened names to these figures. This John, for example, bears no relation to his other Baptists; nor does the next figure represent David, as is generally supposed, but owes that error to the circumstance that when the David that originally stood here was moved to the north side, the old plinth bearing his name was left behind. This famous figure is stated by Vasari to be a portrait of a Florentine merchant named Barduccio Cherichini, and for centuries it has been known as Il Zuccone (or pumpkin) from its baldness. Donatello, according to Vasari, had a particular liking for the work, so much that he used to swear by it; while, when engaged upon it, he is said to have so believed in its reality as to exclaim, "Speak, speak! or may a dysentery seize thee!" It is now generally considered to represent Job, and we cannot too much regret the impossibility of getting near enough to study it. Next is the Jeremiah, which, according to Vasari, was a portrait of another Florentine, but which, since he bears his name on a scroll, may none the less be taken to realize the sculptor's idea of Jeremiah. It is (according to the photographs) a fine piece of rugged vivacity, and the head is absolutely that of a real man. On the opposite side of the tower is the magnificent Abraham's sacrifice from the same strong hand, and by it Habakkuk, who is no less near life than the Jeremiah and Job, but a very different type. At both Or San Michele and the Bargello we are to find Donatello perhaps in a finer mood than here, and comfortably visible.

For most visitors to Florence and all disciples of Ruskin, the chief interest of the campanile ("The Shepherd's Tower" as he calls it) is the series of twenty-seven reliefs illustrating the history of the world and the progress of mankind, which are to be seen round the base, the design, it is supposed, of Giotto, executed by Andrea Pisano and Luca della Robbia. To Andrea are given all those on the west (7), south (7), east (5), and the two eastern ones on the north; to Luca the remaining five on the north. Ruskin's fascinating analysis of these reliefs should most certainly be read (without a total forgetfulness of the shepherd's other activities as a painter, architect, humorist, and friend of princes and poets), but equally certainly not in the American pirated edition which the Florentine booksellers are so ready (to their shame) to sell you. Only Ruskin in his best mood of fury could begin to do justice to the misspellings and mispunctuations of this terrible production.